PCI News and Recaps

PCI RECAP: Site-visit of PCI Symposium delegates at Casita Aurora, Dingalan

After the 3-day International Symposium on Performance Curation at the Bulwagan ng Dangal, University of the Philippines, Diliman, our delegates went on a 2-day site-visit to Casita Aurora in Dingalan, Aurora from September 30 to October 1, 2017.

Early morning assembly at the University Hotel lobby was accompanied by freshly baked pan de sal and brewing conversations.

The whole trip was filled with insightful and entertaining conversations. Stopovers also served as photo opportunities for PCI guests to capture the breathtaking view of the North’s countryside.

Upon arriving at Dingalan, the PCI delegates had a courtesy visit at the Mayor’s office–where we also shared a sumptuous lunch with the hospitable Mayor Sherwin Taay.

(L-R) Kaoru Okada, Eri Karatsu, Paschal Berry, Eryl Torres, Roselle Pineda, Mayor Sherwin Taay, Will Peterson, Dena Davida, Sarah Miller, Dennis Gupa, Angela Lawenko-Baguilat

At the Casita Aurora, Prof. Roselle Pineda toured the delegates at the newly built Aurora Artist Residency Space and Program. The Aurora Artist Residency Program and Space (AARPS), is an independent and non-profit residency program and space, focused on initiating discussion on community empowerment and sustainable environment, through culture and the arts.

AARPS strongly advocate that a community that is entrenched in creativity, creative work and process, yields critical (thinking) communities; and critical communities are empowered and empowering communities.

The residency is located in the quaint property Casita Aurora, Barangay Butas na Bato, Dingalan, Aurora in the cusp of the vast Sierra Madre mountain ranges and the Pacific Ocean; and we partner with local communities such as the Dumagat community, the fisherfolk and upland farmers that reside in the area to work on projects that highlight the essentiality of creativity, art and culture in empowering communities.

a moment of respite during the rain

Come evening, PCI went to visit the Dumagat Community situated at the neighboring barrio. The gathering was facilitated by Prof. Roselle. With her translating between two languages, the visitors and the locals were able to communicate with each other. Both the Dumagat community and foreign guests expressed their gratitude for the encounter.

Prof. Roselle oriented the delegates about the role of AARPS in forging partnership and collaboration with the Dumagat Community of Dingalan, Aurora in preparation for the very first “Adow ni Dumaget Festival” or “Dumagat Day Festival.” The special day is agreed to be set on May 2018 with the theme “Pagkilala, Makilala, at Pagpapakilala” to foster gatherings and conversations surrounding recognition, education, and presentation of the Dumagat indigenous peoples cultural heritage and tradition.

The meeting was followed by a boodle fight dinner which both parties heartily shared.

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The moment of unwinding came during the night cap–where delegates got the chance to taste the local Malibog Wine. As always, conversations overflowed. The following day was also a fortunate one; the tropical sun momentarily shined and everyone was able to experience the Pacific Ocean.

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Before heading out to Manila, the team visited the Gutter Park to view the works of the “Art in the Hood.” Art in the Hood is curatorial project initiated by PCI and the AARPS, to activate art happenings in various communities and neighborhoods throughout the country. It is in partnership with the Municipality of Dingalan and its surrounding communities. It features works of Leeroy New, Tomas Leonor, Teta Tulay and Ralph Lumbres; and curated by PCI-AARPS director Roselle Pineda. The installations are projected to initiate curiosities and discussions about art, environment, and community in the beautiful town of Dingalan.

After the site-viewing, lunch was held at the local carinderia near the park.

the team with Leeroy New’s work “Overgrowth”
at the Casita Aurora

PCI RECAP: International Symposium on Performance Curation

We recently culminated PCI’s first major event, Imagining Curatorial Vision in Performance: An International Symposium on Performance Curation.

The symposium’s opening program was held at the Bulwagan ng Dangal in UP Diliman on September 26. Beginning officially with welcoming remarks from PCI founder Prof. Roselle Pineda shortly followed by a special message from Dr. Cecilia Dela Paz of the Bulwagan ng Dangal.

Dr. Cecilia Dela Paz and Prof. Roselle Pineda
During cocktails, our speakers and delegates got the chance to mingle with each other and initiate discussions. (Pictured here William Peterson and Paschal Berry)

Cocktails were followed by the premiere of Con.Currents | Movement Provocations. After the performance experience, an open forum was held with Ms. Elena Laniog, Ms. Sarah Samaniego and the wonderful UP Dance Company.

the open forum following the premiere of Con.Currents | Movement Provocations

On September 27, the first day of the symposium commenced with the keynote panel “Imagining Performance Curation.” The panelists included Prof. Roselle Pineda, Dr. Dena Davida from Tangente Danse, Prof Eileen Legaspi-Ramirez of the University of the Philippines, Ms. Eri Karatsu of Aichi Prefecture Art Center. It was moderated by Prof. OJ Serquiña of the Department of Speech Communication and Theatre Arts.

Curation going back to its origins in the word Curare, where tending to relationships with artists, audience and colleagues matter as much taking care of artworks and performances.

The first two Exchange Cafes also had very fruitful discussions. The first one conversed on funding in the field performance curation. While for the afternoon exchange cafe, the film “White Funeral” was shown, followed by artists talks with Director Sari Dalena and Ms. Myra Beltran.

(L-R) Andrei Pamintuan of Fringe Manila, Cheska of WSK, and Alon Segarra of Sipat Lawin Ensemble share their experiences with sustaining productions and building networks
Director Sari Dalena and Ms. Myra Beltran talk about “White Funeral”

The afternoon panel focused on various multi-disciplinary practices ranging from music and dance, to local performance art and contemporary community theatre. Speakers included ethnomusicologist Dr. Jonas Baes, noted choreographer Ms. Myra Beltran, Performance artist Boyet de Mesa, and JK Anicoche, Sarah Salazar-Aronson, and Ness Roque-Lumbres of the Sipat Lawin Ensemble. Prof. Bryan Viray from the College of Arts and Letters, UP Diliman, moderated the very interesting panel of practitioners.

00001263The 28th of September opened with speakers Prof. Will Peterson of Flinders University, Dr. May Datuin current head of the Department of Art Studies in UP Diliman, Dr. Steven Fernandez of Marawi State University. The panel focused on pedagogies. Mr. Peterson talked about festivals and explained how the body becomes deeply emplaced so much so that they come back year after year, while Dr. Fernandez spoke of “transcreation” applying to curations being a “performative” act.

Prof. Sarah Miller asking the Panel on Pedagogy and Performance Curation
“Collaborations are a form of Pakikipagkapwa.” – Dr. Flaudette May Datuin

The afternoon panel on Trans-geography and Communities was moderated by PCI’s very own Ms. Reena Manalo. Dr. Dela Paz emphasized on the need for researchers, especially the ones in the urbanized centers, to give back to the local community after gathering of data is finished. Mr. Leonardo Cariño of Teatro Ambahanon explained why they consider themselves a “terminal” and not the destination for contemporary dancers. Both Jane Gabriels and Marc Pronovost delivered informative and illuminating messages through video presentation. The former talked about the challenges brought by gentrification in the Bronx, while the latter focused on Cultural Mediation with communities in Canada.


The first exchange cafe of day 2 featured the film “Juana and the Sacred Shores”, followed by conversations with Director Antonne Carbonel and Choreographer Aisha Polestico. A lecture and workshop from the Lumad was the highlight of the afternoon where they also taught the delegates a sample of their dance.

Aisha Polestico and Antonne Carbonel taking questions from the audience
The lumad and the delegates perform the newly-taught dance

The third and final day of the symposium began with a panel on archiving and new media and was moderated by archivist Ms. Merselle Montes who rightfully asked what happens next after curating performances and who gets to decide what is to be saved. The panel was composed of Prof. Sarah Miller of the University of Wollongong, Dr. Sir Anril Tiatco of UP Diliman, PCI’s resident videographer Prof. Loujaye Sonido, and Prof. Paul Rae of the University of Melbourne.

intense discussions during the panel on archiving and new media

Dr. Tiatco talked about the on-going project, The Philippine Performance Archive, a digital archive which aims to be “relevant, holistic, comprehensive and up-to-date.” On the other hand, Prof. Sonido talked about the origins of film practices and how film up to this day, remains to be a capital-driven practice. Triggered by the heartbreaking story of the UP Faculty Center fire and the lost of many of the university’s physical archives, Prof. Miller expressed the anxiety that danger is always present in archiving, whether it be in the context of fires and natural disasters or the instability of digitized spaces.

Prof. Roselle Pineda moderating the symposium’s closing panel

The closing panel on “Envisioning Performance Curation” also manifested the many forms and levels of commitment each and everyone has for their practice. In this panel were Mr. Masayoshi Yahagi of Toyohashi Arts Theatre PLAT, Prof. Angela Lawenko-Baguilat from the UP College of Music, Mr. Paschal Berry from the Blacktown Arts Centre in Australia, and Dr. Jazmin Llana – Dean of the College of Liberal Arts in De La Salle University Taft.

Mr. Masayoshi discussed that PLAT, as a public theatre, plays a huge role in engaging communities around it and enacting on Japan’s policies related to its depopulation. PCI’s project manager Prof. Angela shares the difficulties in pursuing creative practices in the midst of managerial tasks. Meanwhile, pondering questions from Mr. Paschal Berry that many of us can definitely relate to. Lastly, Dr. Llana emphasized on action after such gatherings, that it is up to us to do something, and we must do something.

The PCI Symposium program organically closed with a pleasant surprise from Mr. Norman Narciso of Teatro Humanidades from Davao.

Mr. Norman Narciso of Teatro Humanidades in Davao leading the closing program

It was an overwhelming experience but a very heartfelt and sincere gathering. We at PCI offer our sincerest gratitude to everyone who supported us, and who willingly shared their thoughts and experiences during and after the talks.

“Endless gratitude to all our old and new loves, who GAVE (including the agency of restraint as what Paul Rae so beautifully put it) in this whole experience – in various capacities – none of these would be special without those various capacities.” – Prof. Roselle Pineda

PCI NEWS: Sarah Samaniego is going to Montreal, Canada!

Photo of Sarah Samaniego by Loujaye Sonido

We are so happy and proud to announce that from our humble and intimate gathering Performance Pitch and Dialogue last September 23, Filipina choreographer Sarah Samaniego has just been programmed as part of Tangente Danse’s 2018-2019 Season, in Montreal, Canada; to develop new works, and possible collaborations with some of Montreal’s dance practitioners.

Once again, we send our heartfelt gratitude to all those who came and the choreographers who shared/pitched their evolving works.

Let’s make this spark spread like wild fire!

** Performance Pitch is Performance Curators Initiatives (PCI) alternative platform to converse about dance and make new and innovative connections among performance practitioners and curators.

PCI EVENT: Con.Currents | Movement Provocations (Sept 26 – 29, 2017)

Performance Curators Initiatives and UP Dance Company presents
CON.CURRENTS | Movement Provocations

September 26-29, 2017 | every 7 o’clock in the evening

21414866_145541326046942_7167855796179302707_oCon.Currents | Movement Provocations is one of the iterations of a long conversation on movement site and body. Taking off from the movement research movement without moving and points of sublation, it is primarily an exercise in reflection and articulation of the complex dialectical encounters between and amongst collaborators, body, time and space

Roselle Pineda (Performance Curation and Dramaturgy)
Maria Elena Laniog (Choreography)
Loujaye Sonido (Video Artist)
Laya Roman (Video Curation)
Roselle Pineda (Visual Design)
Marx Diego (Additional Soundscapes)
Roselle Pineda, Elena Laniog and Loujaye Sonido (Movement Research)
UP Dance Company (Performers)

Tickets prices:
Regular: P300 | Student: P200
*Only 30 slots per show.
For reservations, please contact Angela Cepeda at 0915 799 5610


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As part of the performance experience, audiences are welcome to shoot videos/photos for the collaborative documentation of Con.Currents | Movement Provocations. Those contributing video footage and photos may:

(a) upload the video files to https://goo.gl/Hb4Pb7 or

(b) send us a download link through pcisymposiumsecretariat@gmail.com.

Please make sure to include YOUR NAME and the SHOW DATE in the folder or file name of your upload to help us facilitate proper attribution.

For very large file transfers, please coordinate with Ms. Loujaye Sonido (lrsonido@gmail.com).

PCI Performance Pitch with Tangente’s Dena Davida

From the PCI team, we extend our heartfelt gratitude to all those who went to the Performance Pitch and Dialogue with Dena Davida from Tangente Danse (Montreal, Canada). Thank you to all those who pitched their performance excerpts. Especially to the choreographers who shared their works with us Jared Luna, Dingdong Selga, Christopher Chan, Sarah Samaniego, Elena Laniog, and Chantal Primero.

Special thanks to UP Dance Company for letting us use their studio. It was a fruitful discussion and we hope that this will only be the start of more partnerships. See you at the PCI International Symposium on Performance Curation!

PCI EVENT: Performance Pitch and Dialogue with Tangente’s Curator, Dena Davida on September 23, 2017

Performance Pitch Poster

The Performance Curators Initiatives (PCI) and Tangente present “PERFORMANCE PITCH AND DIALOGUE” with Dr. Dena Davida, Curator and Educator of Tangente, on Sept. 23 at the UP Dance Company Studio.

This is a rare invitation to view the unique process of Performance Pitching. Ten dancers from different backgrounds and styles, will be presenting their choreography to Dr. Dena Davida to welcome and explore the possibilities of collaboration. Attendees will also have the chance to converse with Tangente’s curator.

Tangente is a premiere dance performance space in Montreal, Canada and has been a major figure in contemporary dance for 36 years. It is Québec’s first dance presenting organization and is considered as a forerunner of new trends. Year after year, it offers innovative and imaginative programming. More than 1600 choreographers have presented their work at Tangente – providing a springboard for young artists.

The Performance Pitch event is for FREE but has LIMITED slots, so do register now.
>>>>> http://bit.ly/2w2Qy3F <<<<< Please check our event page for more details: facebook.com/events/1681793251882098


To learn more about Tangente, please visit their website:
Photos used are fromfacebook.com/TangenteDanse.
(©) Copyright by Frederic Chais

Conversations on Site-Specific Choreography with Elena Laniog and Roselle Pineda


Big thanks to everyone who went to Conversations on Site-Specific Choreography with Elena Laniog and Roselle Pineda. We hope you enjoyed the talk as much as we did.

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We’re currently doing some preparations for the Movement Provocations happening on Sept 26-29 so the Bulwagan ng Dangal will temporarily not be open to the public.

On Sept 23, we will be having Performance Pitch and Dialogue with Dena Davida of Tangente. This rare event is for free but has limited slots, so do REGISTER here: http://bit.ly/2w2Qy3F
Check out our event page for more details:facebook.com/events/1681793251882098/

Looking forward to seeing you there!

Conversations on Hip-Hop and the Contemporary with Reflex Gotangco and Roselle Pineda

Group Photo

Thank you to everyone who attended Conversations on Hip-Hop and the Contemporary with Reflex Gotangco and Roselle Pineda!

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Don’t forget! On September 19, 4pm, we’ll be having Conversations on Site-Specific Choreography with Elena Laniog and Roselle Pineda. Their movement provocation “Con.Currents” with the UP Dance Company will be premiering on September 26-29, 7pm.

Exhibit Opening of CON.CURRENTS (Sept 8, 2017)

Many thanks to those who came to the exhibit opening of CON.CURRENTS: Points of Sublation at the Bulwagan ng Dangal, UP Diliman last September 8, 2017.

From Left to Right: Reflex Gotangco, Angela Lawenko-Baguilat, Dayang Yraola, Roselle Pineda, Loujaye Sonido, Sarah Samaniego, Jared Jonathan Luna

Notes from Curator, Dayang Yraola:

Installing Concurrence

For this project, I had two major tasks: one, to display videos of movement performance captured on a rural site; and two, to provide a set for a movement performance of the same performers in the video.

In solving these tasks, I have taken the following steps: First, I have decided that I want the viewing to involve the body of audience, such that they would not only be staring straight on a screen. Viewing would require then to stand, stand diagonally, sit, look up, look down, pan from left to right, or vice versa, among others. This is my way of attempting to kinesthetically remind the audience that what they are watching is a bodily narrative or even a sensorial experience.

Second, I choose a display method that may also serve as a staging set for a movement performance. In this case, I had to consider that the videos are displayed in the same place as the performance. I also had to consider that possibly the live performers are the same as those on the video therefore the nuances of action might be the same or at least similar. For these two factors, I have no control of, but these are factors that makes intermedia performances exciting. To control them, therefore, should not be the main objective but to allow them to be adaptable medium that can accommodate another media in the same creation field. Simply put, I explored how the video can be viewed as part of the live movement performance and vice versa.

For the exhibition modules, I have chosen television sets, projectors and scaffolds because they are familiar, visually basic and industrial which may suggest being devoid of emotions, even cold, or unimportant. I find this quality enigmatic when juxtapose to the sensorial and emotional content of the videos. The lay-out of the modules on the exhibition floor prioritizes seriality rather than comfort or ease in moving from one module to another.

Sound is also a consideration. I distinctly decided not to use headphones. Headphones can create distance or sense of exclusivity; while the main point of the exhibit is to create cohesiveness between the materials. Actually, allowing the sound of one video to blend into the other, discretely, achieves this goal of cohesiveness.

With this installation, I have deconstructed the unmovement of the videographer vis-à-vis the movement of the lens as it captured the moving body of the performer, and translated it into the movement of the audience while viewing the movement performances. In the end, this is not simply an exercise of curatorial translation—translating the site where the video was taken, or translating the shooting into viewing, this installation here today at Bulwagan ng Dangal is another interpretation of the same materials, a different production, that explores the ability of the body to engage with various dimensions of movements and unmovements.

Dayang Yraola

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PCI EVENT: Con.Currents – Points of Sublation (Sept8 – Sept 29, 2017)

As contemporary performance aesthetics gear more and more toward the (re)presentation of the performance process as crucial, if not, central to the totality of the performance experience – from Brecht to Boal, to Bourriard to Ranciere – Con.Currents attempts to interrogate as well as capture the flow and transformation of ideas, bodies and narratives through collaborative/creative-curatorial performance-making, conversations, and modalities of spectatorship.

Poster for Con.Currents
CON.CURRENTS: Points of Sublation

The many works included in Con.Currents draw from various move-ment/performance research questions: from new materialities and (re)mediations of live bodies in relation to the narrative of the disappeared using lights, shadows and soundscapes in work #3 (Pineda, Bulan, Sonido and Diego); to drilling deeper into site-specific embodiments and the consciousness of translating movement experiences onto different bodies in works #1 and #2 (Pineda, Laniog, Samaniego and Sonido); to continuing experimentations, connections and contradictions in hiphop dance, cultural movements, and contemporary performance in work #4 (Pineda, Gotangco and Sonido). Even Yraola’s curatorial concept for this particular project, and Laniog’s later attempt at choreography, which aspires to distill the insights from and process of the performance research and experience, are not efforts to propose a unifying concept that “summarizes” or “answers” the various questions that each work/process tried to deal with. Rather, they present new flow(s) in the same stream of conversation.

Con.Currents converges different flows to a point of continuous unfolding in various junctures and spaces — a concurrence of ever-surging, ever-evolving currents. Viewing the exhibit is, therefore, both an experience of a specific performance and yet, also, a moment in the performance’s unfolding — a totality that perpetually invokes continuation and is thus ever only a fraction.

This flow describes a new kind of mutual consciousness between and among collaborators, materials, sites, bodies, embodiments, and even spectators. These currents never end, but we attempt to capture moments of their unfolding in the hope that, in flowing, we learn to be keener, humbler, and ever more engaged in how our bodies, insights, and spaces of movement, in the unlikeliest ways — yet always inevitably — converse.

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Creative Team for Con.Currents:

Roselle Pineda (over-all concept and curation)
Loujaye Sonido (video curation)
Elena Laniog (choreographer and movement)
Dayang Yraola (Con.Currents exhibition curator)
Sarah Samaniego (movement)
Jesse “Reflex” Gotangco (choreography and movement)
Lorelei Bulan (choreography and movement)
Marx “Tala” Diego (soundscapes for Sagot)
UP Dance Company (performers)


September 8, 2017 | 5pm | Curator’s Walk Through and Opening
September 15, 2017 | 4pm | Conversations: Reflex Gotangco and Roselle Pineda on Hip-Hop and Contemporary
September 19 2017 | 4pm |Conversations: Elena Laniog and Roselle Pineda on Site-Specific Performance Making
September 26-29, 2017 | 7pm | Movement Provocations with Elena Laniog and the UP Dance Company
September 26-29, 2017 | International Conference on Performance Curation 2017 by the Performance Curators Inititives (PCI)